The Michael Parkinson TV Show

Total Page:16

File Type:pdf, Size:1020Kb

The Michael Parkinson TV Show ENGLISH P. 2 DEUTSCH S. 5 OSSAM RAMZY, Egypt’s Ambassador of Rhythm, was born in Cairo. Hossam performed with Sting on the Michael Parkinson TV Show. He HHis musical career began early, when at the age of three he was given won the New Age Voice Award for “Best Contemporary World Music” for his first drum – an Egyptian tabla. His passion for percussion was noted by his album ‘Immortal Egypt’ in collaboration with Phil Thornton. He also his family (many of whom were themselves involved in the arts), who joined the “Masters of Percussion from Africa Ensemble” for a concert at encouraged him to master his craft by studying with the leading music the Royal Festival Hall in London featuring the world famous Brazilian teachers of Egypt. A move to Saudi Arabia introduced Hossam to many of percussionist Airto Moreira. In 2007 he played a live show with the the Bedouin tribes who gave the young Hossam a rich insight into the legendary Grammy Award winners Chick Corea, Isaac Hayes and Mark cultural origins of Middle Eastern music that became the inspiration for Isham. He composed and arranged music for Shakira’s album ‘She Wolf’ many of his later rhythmic directions. (EPIC) as well as for her latest release ‘Empire’. In the mid 1970s he moved to England, and enjoyed great success as a Today Hossam is at the top of his game, having recently released the Jazz and Latin style drummer working with many highly respected Jazz biggest album of his career, Rock The Tabla, a collaborative project musicians like Andy Sheppard and Geoff Williams. But, as he began looking featuring some of the world’s top musicians including A.R. Rahman, for new dimensions of percussive sounds, he found himself turning full Billy Cobham, Omar Faruk Tekbilek and Manu Katché. Released in circle, back to his first love, the Egyptian drums, and the thrilling dance August 2011, Rock the Tabla earned Hossam a nomination for Best rhythms of the Middle East. The distinctive sound of Hossam’s percussion Artist in the Songlines Music Awards 2012. and the exciting rhythms on his albums caught the imagination of Peter Gabriel who invited Hossam to perform on his albums ‘Passion’ and later ‘Us’. Hossam went on to work with many top musicians including Joan Armatrading and Mari Wilson. In 1994 Robert Plant and Jimmy Page (Led Zeppelin) invited Hossam to bring together a band of Arabian musicians and work on their reunion album ‘No Quarter – Unledded’, which was certified triple platinum. This led to Hossam joining Page and Plant on their historic reunion 1995/96 world tour. Ever since, Hossam has been extensively touring with various artists, such as Pino Daniele of Italy as well as many of the top class Arabian singers like Cheb Khaled, Rachid Taha, Faudel and Yeşim Salkım, one of the most popular female singers from Turkey. To date Hossam has released over 25 albums and two DVDs of Egyptian dance and world music, with many of them dedicated to percussion and rhythms of the world. He has also collaborated on composing and performing many award- winning film soundtracks, such as: Stargate, Wings of a Dove, The Saint, The Hunchback of Notre Dame, Stealing Beauty, The Last Temptation of Christ, Stardust, Prince of Persia: The Sands of Time, Conan The Barbarian 3D and The Dictator. 2 DISCOGRAPHY: Peter Gabriel ELO Paul Young Chick Corea Luciano Pavarotti Ricky Martin Joan Armatrading Cheb Khaled Isaac Hayes Robert Plant Faudel Mark Isham Jimmy Page Rachid Taha Sting Rolling Stones Deborah Harry Jay-Z Gipsy Kings Phil Thornton Shakira Procol Harum Loreena McKennitt OHAMED NAIEM was born in Port-Said on the northern part of the Suez Canal. Mohamed has Mdemonstrated a rare talent for playing the nay and kawala. These flutes are very difficult to play and it is rare to find someone who plays both flutes with such precision and talent and such soul- captivating spirituality. Mohamed moved to Cairo and worked in night clubs with many of the well-known singers and dancers on the club circuits. Hossam Ramzy kept hearing his name being mentioned by various well-respected musicians such as Ossama El Hendy (one of Hossam’s dearest friends and musical collaborators) and when the right opportunity presented itself a meeting was arranged. Mohamed has recorded on several of Hossam’s productions and has done live radio and TV recordings with the current best popular and Shaabi singers. 3 THE NAY (Arabic reed flute) The nay is a very old, simple wind instrument made from the reed plant and thought to have been first used by Egyptians in the ‘old’ ages. It is regarded as one of the oldest instruments known in Egypt and the Arab world. The ‘voice’ of the nay is said to fulfil psychological and spiritual needs. The nay is made of jointed, firm reed stems, growing in or near water. A nay has nine joints and is between 37 and 80 cm (14.5 – 31.5 in) long; the pitch of a nay is determined by its length and bore. There are seven kinds of nay. The most important of them are the Nay ‘Al Dokah’, Nay ‘Al Nawah’ and Nay ‘Al Hosseiny’. The most commonly used kind is the Nay ‘Al Dokah’. There are instruments in Egypt, similar to the nay, called ‘Salamia’ and ‘Arghol’, made from the same reed plant. They differ in the number of joints and length as well as playing technique. The notes produced by the nay give us the Arabic scale in which the third and seventh are quarter tones – a scale called ‘rast’. A nay player can of course play any other scale required, depending on his skill. First steps for anyone interested in learning to play the nay… • Hold the nay’s top edge to your lips, and then move its lower end slightly to the left or to the right, whichever is more comfortable. • With semi-closed lips blow a strong fine ‘breath’ of air; make sure the air stream collides with the outer edge of the instrument. Do not place your fingers on the holes at this stage. • Blow with a normal breath, neither violently nor continuously, to avoid getting tired (and dizzy) quickly. Try blowing several times until a note comes out. • Now begin to put your fingers on the holes. You will find that the notes now have changed. The different ways of putting your fingers on the holes will produce different scales. Enjoy the greatest sound you’ve ever heard! With my best wishes, Mohamed Naiem 4 HOSSAM RAMZY, Ägyptens Botschafter des Rhythmus, wurde in Kairo Außerdem wirkte Hossam an einigen preisgekrönten Film- geboren. Seine musikalische Karriere begann im Alter von drei Jahren, Soundtracks mit, wie: Stargate, Wings of a Dove, The Saint, The als er seine erste Trommel, eine ägyptische Tabla, geschenkt bekam. Hunchback of Notre Dame, Stealing Beauty, The Last Temptation of Seine Leidenschaft für Perkussion wurde von seiner Familie unterstützt. Christ, Stardust und Prince of Persia: The Sands of Time, Conan der Einige Familienmitglieder, selbst Künstler, ermutigten ihn, bei den Barbar 3D und Der Diktator. bekanntesten Musiklehrern Ägyptens Unterricht zu nehmen. Durch Hossam trat zusammen mit Sting in der Michael Parkinson TV-Show einen Umzug nach Saudi Arabien machte Hossam die Bekanntschaft (BBC1) auf und wurde mit dem „New Age Voice Award“ für „Best einiger Beduinenstämme, was ihm einen tiefen Einblick in die kulturellen Contemporary World Music“ für sein Album „Immortal Egypt“ Ursprünge der Musik des Nahen Osten gewährte und für ihn eine ausgezeichnet, das in Zusammenarbeit mit Phil Thornton entstand. Er Inspiration für seinen späteren rhythmischen Musikstil war. trat zusammen mit dem „Masters of Percussion from Africa Ensemble“ Mitte der 70er Jahre zog Hossam nach England und hatte dort bei einem Konzert in der Royal Festival Hall in London auf, bei dem auch großen Erfolg als Jazz- und Latin Drummer. Er spielte mit anerkannten der weltbekannte brasilianische Perkussionist Airto Moreira mitwirkte. Jazzmusikern wie Andy Sheppard und Geoff Williams. Als er begann, sich 2007 trat er in einer Liveshow mit den legendären Grammy Preisträgern nach einer neuen Richtung in seinem Perkussion-Sound umzusehen, Chick Corea, Isaac Hayes und Mark Isham auf. Hossam komponierte und kam er wieder zurück zu seiner ersten Liebe, der ägyptischen Tabla und arrangierte Musik für Shakiras Album ‚She Wolf‘ (EPIC) sowie für ihre den mitreißenden Tanzrhythmen des Nahen Ostens. Der besondere neueste Single ‚Empire‘. Sound von Hossams Perkussion und seine aufregenden Rhythmen Heute ist Hossam auf der Höhe seiner Schaffenskraft. Vor kurzem auf seinem Album erregte die Aufmerksamkeit von Peter Gabriel, der veröffentlichte er sein bisher größtes Album, Rock The Tabla. Es ihn einlud auf seinen Alben ‚Passion‘ und ‚Us‘ mitzuwirken. Hossam ist ein kollaboratives Projekt mit einigen Welt-Spitzenmusikern, arbeitete mit weiteren Top-Musikern, wie Joan Armatrading und Mari einschließlich A.R. Rahman, Billy Cobham, Omar Faruk Tekbilek und Wilson. 1994 luden Robert Plant und Jimmy Page (ex Led Zeppelin) Manu Katché. Herausgegeben im August 2011, brachte Rock The Tabla Hossam ein, eine Gruppe arabischer Musiker zusammenzustellen, um Hossam eine Nominierung für Bester Künstler in den Songlines Music auf ihrem Reunion-Album ‚No Quarter - Unledded‘ mitzuwirken. Dieses Awards 2012 ein. Album wurde dreifach mit Platin ausgezeichnet. Dies führte dazu, daß Hossam Jimmy Page und Robert Plant auch auf ihrer Welttournee 1995/96 begleitete. Seitdem war Hossam mit verschiedenen Künstlern DISCOGRAPHIE: auf Tournee, wie Pino Daniele aus Italien und erstklassigen arabischen Peter Gabriel ELO McKennitt Sängern wie Cheb Khaled, Rashid Taha, Faudel und Yeşim Salkım, Chick Corea Luciano Paul Young einer der beliebtesten Sängerinnen der Türkei. Hossam veröffentlichte Joan Pavarotti Ricky Martin mittlerweile über 25 Alben und 2 DVDs mit ägyptischer Tanz- und Armatrading Cheb Khaled Isaac Hayes Weltmusik, von denen einige besonders der Perkussion und den Robert Plant Faudel Mark Isham Rhythmen der Welt gewidmet sind.
Recommended publications
  • (Pdf) Download
    Artist Song 2 Unlimited Maximum Overdrive 2 Unlimited Twilight Zone 2Pac All Eyez On Me 3 Doors Down When I'm Gone 3 Doors Down Away From The Sun 3 Doors Down Let Me Go 3 Doors Down Behind Those Eyes 3 Doors Down Here By Me 3 Doors Down Live For Today 3 Doors Down Citizen Soldier 3 Doors Down Train 3 Doors Down Let Me Be Myself 3 Doors Down Here Without You 3 Doors Down Be Like That 3 Doors Down The Road I'm On 3 Doors Down It's Not My Time (I Won't Go) 3 Doors Down Featuring Bob Seger Landing In London 38 Special If I'd Been The One 4him The Basics Of Life 98 Degrees Because Of You 98 Degrees This Gift 98 Degrees I Do (Cherish You) 98 Degrees Feat. Stevie Wonder True To Your Heart A Flock Of Seagulls The More You Live The More You Love A Flock Of Seagulls Wishing (If I Had A Photograph Of You) A Flock Of Seagulls I Ran (So Far Away) A Great Big World Say Something A Great Big World ft Chritina Aguilara Say Something A Great Big World ftg. Christina Aguilera Say Something A Taste Of Honey Boogie Oogie Oogie A.R. Rahman And The Pussycat Dolls Jai Ho Aaliyah Age Ain't Nothing But A Number Aaliyah I Can Be Aaliyah I Refuse Aaliyah Never No More Aaliyah Read Between The Lines Aaliyah What If Aaron Carter Oh Aaron Aaron Carter Aaron's Party (Come And Get It) Aaron Carter How I Beat Shaq Aaron Lines Love Changes Everything Aaron Neville Don't Take Away My Heaven Aaron Neville Everybody Plays The Fool Aaron Tippin Her Aaron Watson Outta Style ABC All Of My Heart ABC Poison Arrow Ad Libs The Boy From New York City Afroman Because I Got High Air
    [Show full text]
  • A Gergely András: „Arab”
    A.GERGELY ANDRÁS „ARAB” VILÁGZENE, AVAGY A RAÏ ZENEI SZCÉNÁJA (2/1.) A legkevésbé sem erőltethető, hogy a Parlando hasábjain bármily érdeklődési eltolódás következzen be a kortárs zenei műfajok, irányzatok vagy akár kultuszok területén. Ám abban a lehetséges bűvkörben, ahol a világ népeinek, kultúráinak, ezek keveredéseinek vagy konfliktusainak, az átvételek, divatok, kölcsönhatások rendszerének új jelenségeire is odafigyelhetünk, nem kevéssé érdemes észrevenni kultúrák, kultuszok és zenei beszédmódok között annak a műfaji jelenségnek születését és hatását, melyet a raï zenei világának nevezhetünk. Kérdés: érdemes-e itt valamiféle „ezoterikus” tüneményről elmélkedni? Kell-e egy bizonyos ideig tartó, de rövid korszaknál (újdonságerejénél fogva ugyan ható, ugyanakkor) nem zenetörténeti jelenségről ott szólani, ahol időt állóbbnak nevezhető alaptónus az uralkodó? Kell-e, s lehet- e a 21. század zenéjében föl-fölbukkanó hatásokra méltóképpen fölfigyelni, vagy megmarad mindez a divatkedvelők időleges horizontján valami alkalmi jelenségként, időleges folyamatként, esetleges szereplők tereként? S ha analógiákat keresünk: Bartók török gyűjtése, az amerikai zenei kultúra country- hagyományai, az indiai zenék évtizedeket átható fogyasztási kultúrája Európában, vagy akár a balkáni cigány népzene belopakodása a kortárs zenei gondolkodásba, vajon érdemi zenetudományi kérdésfeltevésekre is alkalmassá válik-e, kellő hatásuk pedig zenepedagógiai érdeklődésre is számot tarthat-e? Vagy, mindezek mellett és helyett, pusztán egy divatkorszak divatos zenéjéről van szó a raï esetében, mely érkezett is, múlik is, ezért legyinthetünk rá…? A megfontolásokat két dimenzióban próbálom tárgyalni. Először egy ismeretközlő, „népszerűsítő” áttekintés, publicisztikus mű ismertetésével, majd második körben egy térségi zenei övezet korszakos sodrásával igyekszem bemutatni egy szórakoztató (de nemcsak), divatos (de annál tradicionálisabb), térségi-tájegységi (ám akként a Mediterránum szinte egészét átható, Európa nyugati felén is széles sávban hódító) zenei jelenség mibenlétét.
    [Show full text]
  • Funk Is Its Own Reward": an Analysis of Selected Lyrics In
    ABSTRACT AFRICAN-AMERICAN STUDIES LACY, TRAVIS K. B.A. CALIFORNIA STATE UNIVERSITY DOMINGUEZ HILLS, 2000 "FUNK IS ITS OWN REWARD": AN ANALYSIS OF SELECTED LYRICS IN POPULAR FUNK MUSIC OF THE 1970s Advisor: Professor Daniel 0. Black Thesis dated July 2008 This research examined popular funk music as the social and political voice of African Americans during the era of the seventies. The objective of this research was to reveal the messages found in the lyrics as they commented on the climate of the times for African Americans of that era. A content analysis method was used to study the lyrics of popular funk music. This method allowed the researcher to scrutinize the lyrics in the context of their creation. When theories on the black vernacular and its historical roles found in African-American literature and music respectively were used in tandem with content analysis, it brought to light the voice of popular funk music of the seventies. This research will be useful in terms of using popular funk music as a tool to research the history of African Americans from the seventies to the present. The research herein concludes that popular funk music lyrics espoused the sentiments of the African-American community as it utilized a culturally familiar vernacular and prose to express the evolving sociopolitical themes amid the changing conditions of the seventies era. "FUNK IS ITS OWN REWARD": AN ANALYSIS OF SELECTED LYRICS IN POPULAR FUNK MUSIC OF THE 1970s A THESIS SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THEDEGREEOFMASTEROFARTS BY TRAVIS K.
    [Show full text]
  • Energy Security: Implications for U.S.-China-Middle East Relations
    The James A. Baker III Institute for Public Policy of Rice University Energy Security: Implications for U.S.-China-Middle East Relations Is there an Arab Popular Culture? Susan Ossman Department of Anthropology, Rice University Prepared in conjunction with an energy conference sponsored by The Shanghai Institute for International Studies and The James A. Baker III Institute for Public Policy Rice University - July 18, 2005 This program was made possible through the generous support of Baker Botts L.L.P. THESE PAPERS WERE WRITTEN BY A RESEARCHER (OR RESEARCHERS) WHO PARTICIPATED IN A BAKER INSTITUTE RESEARCH PROJECT. WHEREVER FEASIBLE, THESE PAPERS ARE REVIEWED BY OUTSIDE EXPERTS BEFORE THEY ARE RELEASED. HOWEVER, THE RESEARCH AND VIEWS EXPRESSED IN THESE PAPERS ARE THOSE OF THE INDIVIDUAL RESEARCHER(S), AND DO NOT NECESSARILY REPRESENT THE VIEWS OF THE JAMES A. BAKER III INSTITUTE FOR PUBLIC POLICY. © 2004 BY THE JAMES A. BAKER III INSTITUTE FOR PUBLIC POLICY OF RICE UNIVERSITY THIS MATERIAL MAY BE QUOTED OR REPRODUCED WITHOUT PRIOR PERMISSION, PROVIDED APPROPRIATE CREDIT IS GIVEN TO THE AUTHOR AND THE JAMES A. BAKER III INSTITUTE FOR PUBLIC POLICY. Is there an Arab Popular Culture? A great deal of attention has been given in recent years to the way that Arab satellite television has emerged as a transnational political force. But very new commentators have bothered to study how this news is being received, how it shapes a nebulous "Arab" world or Arab community, and especially, to the fact that most of what is projected on satellite television is not news at all. From the beginning, soap operas, talk shows, music videos and serials have dominated most satellite programming.
    [Show full text]
  • 07-18905 Cover Creating Racism.Indd
    INTRODUCTION The Creation of Racism n the United States, African-American and to receive electroshock treatment (over 400 volts Hispanic children in predominantly white of electricity sent searing through the brain to school districts are classified as “learning control or alter a person’s behavior) and to be disabled” more often than Whites. This subjected to physical and chemical restraints.3 leads to millions of minority children Around the world, racial minority groups beingI hooked onto prescribed mind-altering continue to come under assault. The effects are drugs — some more potent than cocaine — to obvious: poverty, broken families, ruined youth, “treat” this “mental disorder.” And yet, with and even genocide (deliberate destruction of a early reading instruction, the number of students race or culture). No matter how loud the plead- so classified could be reduced by up to 70%.1 ings or sincere the efforts of our religious lead- African-Americans and Hispanics are also ers, our politicians and our teachers, racism just significantly over-represented in U.S. prisons. seems to persist. In Britain, black men are 10 times more Yes, racism persists. But why? Rather than likely than white men to be diagnosed as “schizo- struggle unsuccessfully with the answer to this phrenic,” and more likely to be prescribed and question, there is a better question to ask. Who? given higher doses of powerful psychotropic The truth is we will not fully understand (mind-altering) drugs.2 They are also more likely racism until we recognize that two largely A Message from Isaac Hayes “Psychiatric programs and drugs have ravaged our inner cities, helping to create criminals of our young people, and all because psychiatrists and psychologists were allowed to practice racist behavioral control and experimentation in our schools, instead of leaving teachers just to teach.
    [Show full text]
  • 1 Nasser Al-Taee University of Tennessee, Knoxvi
    Echo: a music-centered journal www.echo.ucla.edu Volume 5 Issue 1 (Spring 2003) Nasser Al-Taee University of Tennessee, Knoxville “In rai, there are always enemies, always problems.” Dijillai, an Algerian fan (Shade-Poulsen 124) 1. It is no coincidence that rai surged onto the Algerian popular music landscape during the 1980s, a time in which Islamic reformists brought about new challenges to the political, cultural, and artistic scenes in the developing country. [Listen to an example of rai.] Caught between tradition and modernization, and reacting to the failure of socialism and its inability to appeal to the majority of the Algerian masses, the country sank into a brutal civil war between the military- backed regime and Islamic conservatives demanding a fair democratic election. Algerian rai artists responded by expressing disenchantment with their country’s situation through a modernized genre largely based on its traditional, folk-based, sacred ancestor. In Arabic rai means “opinion,” a word reflecting the desire for freedom of speech and expression, values that have been subjected to extreme censorship by non-democratic Arab governments. Currently, rai is associated with an emerging youth culture and the new connotations ascribed to the genre reflect 1 Echo: a music-centered journal www.echo.ucla.edu Volume 5 Issue 1 (Spring 2003) tenets of liberalism that depart from the past. In its newly adopted form, rai represents an alternative mode of protest and liberation. 2. When new rai began to achieve popularity in Algeria and Europe in the late 70s and early 80s, rai artists and the conservative factions were at odds with each other because of their conflicting ideological positions.
    [Show full text]
  • Rachid Taha Diwân Mp3, Flac, Wma
    Rachid Taha Diwân mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop / Folk, World, & Country Album: Diwân Country: US Released: 1998 Style: Raï MP3 version RAR size: 1860 mb FLAC version RAR size: 1507 mb WMA version RAR size: 1727 mb Rating: 4.8 Votes: 607 Other Formats: ADX MP4 FLAC MOD DMF TTA AIFF Tracklist Hide Credits Ya Rayah 1 6:13 Written-By – Abderrahmane Amrani* Ida 2 5:56 Written-By – Rachid Taha Habina 3 7:27 Written-By – Farid El Atrache, Toufic Barakat* Bent Sahra 4 7:12 Written-By – Ahmed Khelifi Ach Adani 5 6:25 Written-By – Abderrahmane Amrani* El H'Mame 6 6:07 Written-By – Mohammed El Anka Enti Rahti 7 6:58 Written-By – Abderrahmane Amrani* Menfi 8 5:03 Written-By – Akli Yahiatene, Missoum Amraoui Bani Al Insane 9 4:32 Written-By – Boudjemaa Hgour* Malheureux Toujours 10 6:13 Written-By – Ahmed Soulimane, Benaceur Baghdadi Aiya Aiya 11 7:00 Written-By – Rachid Taha Companies, etc. Phonographic Copyright (p) – Barclay Copyright (c) – Barclay Made By – PMDC, USA Credits Engineer, Mixed By – Dave Pemberton, Pete Hoffmann* Flute – Aziz Ben Salem Oud – Kaseeme Jalanne (tracks: 11) Oud, Banjo, Vocals [Backing], Percussion [Additional] – Nabil Khalidi Percussion – Hossam Ramsy* Producer, Programmed By, Engineer, Mixed By, Guitar – Steve Hillage Strings – Bob Loveday, Geoffrey Richardson, Pete Macgowan* Vocals – Amina Alaoui Notes Printed in the U.S.A. Made in the U.S.A. CD released with a 12-page booklet in a standard jewel case Barcode and Other Identifiers Barcode (Printed): 7 314 539 953-2 1 Barcode (Scanned): 731453995321
    [Show full text]
  • WDAM Radio's History of Dionne Warwick
    WDAM Radio's Hit Singles History Of Dionne Warwick # Artist Title Chart Position/Year Label Comments 001 Drifters “Mexican Divorce” –/1962 Atlantic Dionne Warwick’s back-up vocals on this recording are what caught the attention of Hal David & Burt Bacharach, who signed her to their production company. Recorded in 1961, but released as the B-side of When My Little Girl Is Smiling (#28-Rock-U.S. + #31- U.K./1962). Composers – Burt Bacharach & Bob Hilliard. 002 Burt & The Backbeats “Move It On The Backbeat” –/1961 Big Top Burt Bacharach, Dionne Warwick & Dee Dee Warwick. Composers – Hal David & Burt Bacharach. 003 Dionne Warwick “It’s Love That Really Counts” –/1962 Scepter Demo for song that was presented to the Shirelles. It also was a cut on Dionne’s debut LP – Presenting Dionne Warwick – released in 1963. Composers – Hal David & Burt Bacharach. 003A Shirelles “It’s Love That Really Counts” #102/1962 Scepter 004 Dionne Warwick “I Smiled Yesterday” –/1962 Scepter A-Side. Composers – Hal David & Burt Bacharach. 005 Dionne Warwick “Don’t Make Me Over” #21-Rock & #5-R&B- Scepter B-side. Song title inspired by Dionne’s angry U.S. + #38-Rock- statement to Hal David & Burt Bacharach Canada/1962 gave Make It Easy On Yourself to Jerry Butler first instead of her. Composers – Hal David & Burt Bacharach. 005A Swinging Blue Jeans “Don’t Make Me Over” #116-Rock-U.S. + #31- Imperial U.K./1966 005B Brenda & The “Don’t Make Me Over” #77-Rock & #15-R&B- Top And Bottom Co-producer – Van McCoy. Tabulations U.S./1970 005C Jennifer Warnes “Don’t Make Me Over” #67-Rock, #14-AC & Arista #84-C&W-U.S./1980 005D Sybil “Don’t Make Me Over” #20-Rock, #2-R&B & Next Plateau #4-Dance-U.S.
    [Show full text]
  • Culture/Musiques
    30 u Libération Lundi 23 Septembre 2019 culture/Musiques plus vite que la musique JPEGMAFIA All My Heroes Are Cornball (JPEGMAFIA) Barrington Hendricks fait de l’art traumatisé : par le ra- cisme (qu’il a subi de plein fouet à l’adolescence, en Ala- bama), par Internet (dont il fut longtemps un troll sur les forums noyautés par l’alt-right), par l’armée (il a été posté au Koweït ou en Afghanistan avant de titrer son premier album Veteran). Logiquement son rap, dont il produit lui-même mots et beats en même temps qu’il erre sur YouTube (pour les vidéos et les déluges haineux dans les commentaires) est l’un des plus heurtés et turbulents du moment. Mais malgré sa volonté affichée de «provoquer la haine», sa musique charme et impres- sionne. JPEGMAFIA est un crack de la manipulation de matériaux très variés au moins autant que la réappropria- tion des tropes et des discours, qui propose un chaos avant tout jouissif et mélodieux, animé de discours très cohérents. Son second album est à mi-chemin du rap qui fouille et de la leçon en vigilantisme en ligne, et il est très nourrissant. O.L. Je suis africain est un album aussi complexe que l’était la personnalité du chanteur. Photo Marc-Antoine Serra Liam Gallagher Why Me ? Why Not (Warner). pertoire cradi-moderne à souhait Il en sera sans doute de ce deuxième album de la grande (une idée surtout pas cramoisie du gueule d’Oasis comme de mille albums de grandes voix de Rachid Taha, son plus passé, avec lequel il faut bel et bien grands groupes en exil solo : on se l’infligera sans trop recomposer, ici et maintenant, y pio- y croire, par attachement pour la personnalité de son au- beau posthume cher des deux mains), la thématique teur et pour sa gloire passée, on le rangera sur l’étagère, on (la foi en l’humain, l’ironie aussi, le l’oubliera pour l’éternité.
    [Show full text]
  • Troubled Ethnicities in American Popular Music from Elvis Presley to Eminem
    TROUBLED ETHNICITIES IN AMERICAN POPULAR MUSIC FROM ELVIS PRESLEY TO EMINEM Stefan L. Brandt (University of Siegen, Germany / Harvard University) With the commodification of African American culture, Blackness has become an accessory that can be put on like burnt cork and hog fat: baggy pants, overpriced athletic shoes, corn rows or dread locks, gaudy jewelry, swiveling necks, snapping fingers, absent consonants.1 Introduction: Blackface, White Negritude, and Ethnic Identity On July 18, 1953, an 18-year old trucker named Elvis Presley decided to go to the Sun Record Company in Memphis and paid $3.98 to record a demo – a procedure that he repeated in January of 1954. It took another four months until Sun Records founder Sam Phillips, eager to capitalize upon the popularity of African American songs, accidentally discovered one of the tapes and took Presley under contract. Presley’s music, a combination of Rhythm & Blues, hillbilly, gospel, and boogie-woogie, dominated by an uptempo, backbeat-driven rhythm, was an instant success. Some forty years later, American popular music saw another successful ‘hybrid’ artist in the shape of Missouri-born white rapper Marshall Bruce Mathers III, better known as “Eminem” or “Slim Shady.” Like Elvis before him, Eminem cleverly took advantage of the appeal of a ‘black’ music style, in his case HipHop, integrating it into a mass-compatible crossover product. Eminem’s video clips are masterstrokes of ethnic marketing, deploying elements of ‘white trash’ imagery as well as of ‘black’ language and art. My essay is interested in those strategies of representation within American popular music that are designed to market what Harry J.
    [Show full text]
  • Les Múltiples Identitats Del Raï
    LES MÚLTIPLES IDENTITATS DEL RAÏ Josep Vicent Frechina Dels bordells i cafés d’Orà als su- La caracterització del raï no és nories: jueus, espanyols, etc.; des- burbis de París, de la veu subversi- gens fàcil perquè, d’una banda, és prés, l’enorme impacte de la seua 23 va de les cheikhas 1 a les vendes mi- un fenomen social que transcen- comercialització a través dels mer- lionàries dels cantants beurs , de la deix llargament el fet estrictament cats de cintes de casset; més tard, el parada itinerant de cintes de casset musical –Schade-Poulsen (1999:5) contacte entre els immigrants als macrofestivals de les «músiques en dirà un «fet social total»–; i, algerians a París i la cultura occi- Caramella ètniques», el raï ha fet un llarg d’una altra, perquè es tracta, com dental; i, finalment, la tremenda viatge en molt poc temps i, pel ja hem subratllar, d’un estil dotat intervenció de la indústria de la 119 camí, ha anat canviant parcialment d’una gran heterogeneïtat on con- world music per conferir a l’estil un la seua fesomia i el seu significat vergeixen trets musicals de molt discurs occidental, és a dir, per fins arribar al complex, heterogeni diversa procedència: ritmes magri- configurar i modelar, en base a un i ambivalent gènere musical que bins, instruments occidentals, ele- imaginari àrab ben bé de disseny, coneixem avui. Un gènere que, ments de música disco, melodies un nou estil musical susceptible de com tan certerament va assenyalar aràbiques, etc. Això es deu, en bo- competir en el mercat de consum l’arabista Gabriele Marranci na mesura, a la seua naturalesa globalitzat amb uns trets que (2003:101), ostenta a més una al·luvial i a les successives dinà- exhibesquen una cert exotisme VEU AMB ALTRA duplicitat de rols contradictòria miques de transculturació i mer- però que no espanten l’oient amb perquè si, d’una banda, és un cantilització a què ha estat sotmés: la seua crua autenticitat.
    [Show full text]
  • Vinyls-Collection.Com Page 1/64 - Total : 2469 Vinyls Au 23/09/2021 Collection "Pop/Rock International" De Lolivejazz
    Collection "Pop/Rock international" de lolivejazz Artiste Titre Format Ref Pays de pressage 220 Volt Mind Over Muscle LP 26254 Pays-Bas 50 Cent Power Of The Dollar Maxi 33T 44 79479 Etats Unis Amerique A-ha The Singles 1984-2004 LP Inconnu Aardvark Aardvark LP SDN 17 Royaume-Uni Ac/dc T.n.t. LP APLPA. 016 Australie Ac/dc Rock Or Bust LP 88875 03484 1 EU Ac/dc Let There Be Rock LP ALT 50366 Allemagne Ac/dc If You Want Blood You've Got I...LP ATL 50532 Allemagne Ac/dc Highway To Hell LP ATL 50628 Allemagne Ac/dc High Voltage LP ATL 50257 Allemagne Ac/dc High Voltage LP 50257 France Ac/dc For Those About To Rock We Sal...LP ATL 50851 Allemagne Ac/dc Fly On The Wall LP 781 263-1 Allemagne Ac/dc Flick Of The Switch LP 78-0100-1 Allemagne Ac/dc Dirty Deeds Done Dirt Cheap LP ATL 50 323 Allemagne Ac/dc Blow Up Your Video LP Inconnu Ac/dc Back In Black LP ALT 50735 Allemagne Accept Restless & Wild LP 810987-1 France Accept Metal Heart LP 825 393-1 France Accept Balls To The Walls LP 815 731-1 France Adam And The Ants Kings Of The Wild Frontier LP 84549 Pays-Bas Adam Ant Friend Or Foe LP 25040 Pays-Bas Adams Bryan Into The Fire LP 393907-1 Inconnu Adams Bryan Cuts Like A Knife LP 394 919-1 Allemagne Aerosmith Rocks LP 81379 Pays-Bas Aerosmith Live ! Bootleg 2LP 88325 Pays-Bas Aerosmith Get Your Wings LP S 80015 Pays-Bas Aerosmith Classics Live! LP 26901 Pays-Bas Aerosmith Aerosmith's Greatest Hits LP 84704 Pays-Bas Afrika Bambaataa & Soulsonic F..
    [Show full text]